{"id":340,"date":"2020-03-02T23:23:27","date_gmt":"2020-03-03T05:23:27","guid":{"rendered":"https:\/\/pages.stolaf.edu\/performinghistory\/?p=340"},"modified":"2020-03-03T09:02:09","modified_gmt":"2020-03-03T15:02:09","slug":"a-search-for-francis-poulencs-musical-identity","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/performinghistory\/2020\/03\/02\/a-search-for-francis-poulencs-musical-identity\/","title":{"rendered":"A Search for Francis Poulenc’s Musical Identity"},"content":{"rendered":"

There are a lot of sources out there about Francis Poulenc. This wasn\u2019t a particularly profound discovery; after first hearing his Sonata for Flute and Piano<\/a> a few years ago, I was fueled with the desire to discover more about his music and his subsequent popularity in the French musical scene of the 1920s. <\/p>\n

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Poulenc’s personal reflections served as a very helpful primary source in my preliminary research.<\/figcaption><\/figure>\n

Of course, some of the most informative sources I have explored are ones with \u2018Francis Poulenc\u2019 in the by line. My Friends and Myself <\/em>records a series of conversations Poulenc had with Steph\u00e1ne Audel.[1]<\/a> These conversations shine light on how Poulenc perceived his relationships with fellow composers, acquaintances, and inspirations. Francis Poulenc: Articles and Interviews <\/em>has a little something pertaining to just about any major moment in Poulenc\u2019s life and composition endeavors.[2]<\/a><\/p>\n

While these books and many other sources have played a substantial role in my research, one book that I have heavily relied on is Keith Daniel\u2019s Francis Poulenc: His Artistic Development and Musical Style.[3]<\/strong><\/a><\/em> The book is part of a larger series \u201cStudies in Musicology\u201d that was overseen by George Buelow, Professor Emeritus of Musicology at Indiana University.<\/p>\n

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Francis Poulenc, by Jean Cocteau 1924<\/figcaption><\/figure>\n

Superficially, one of the most helpful things about this book is that it is liberally footnoted; it has directed me towards other sources (such as the ones mentioned above) that have been extremely helpful. But, beyond the footnotes, this book critically analyzes the progress of Poulenc\u2019s musical style and follows the development of his own unique musical fingerprint. Daniel argues that Poulenc had different stages in his ever-changing musical journey each defined by a specific life event or, influential figure that he encountered and interacted with. He then analyzes the bulk of Poulenc\u2019s works as both a function of the genre and a function of distinct time periods that he established as important, characteristically different time frames. While he does not go into much detail about specific pieces, he covers a lot of ground and brings up many points that inspire further thought.<\/p>\n

Interspersed between musical analysis and arguments about different influences are bits of information or claims that help me, as the reader, understand vital relationships that Poulenc had throughout his life. Daniel frequently pulls quotes from letters and writing by Poulenc and his associates that act as convincing evidence for many of the arguments that he makes. These primary source references also reinforce many of the relationships, including the one Poulenc had with Satie, that Daniel emphasizes.<\/p>\n

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The gift that Auric and Poulenc supposedly sent Satie was a rattle. The top of the rattle had a similar likeness to Satie, including a full beard as pictured on Satie here.<\/figcaption><\/figure>\n

One of the most interesting parts of Poulenc’s life, to me, is his seven year relationship with Erik Satie. Satie is frequently recognized as an influential figure in the search for France’s musical identity in the early twentieth century. On the surface, what appeals to me about their relationship was the way it fell apart. I get quite the kick out of their falling out. It was a product of some bad partying habits that Satie wasn’t a fan of, an antagonizing gift from Poulenc and fellow Les Six\u00a0<\/em>member Georges Auric<\/a>, and Poulenc’s not-so-subtle befriending of Satie critic and musicologist, Louis Laloy<\/a>. On a more serious note, I think it is interesting that this dispute came at a time where Poulenc’s influences had seeming shifted away from Satie and more towards Igor Stravinsky<\/a>. Poulenc’s compositions around this time embodied uncharacteristic dissonance and heaviness that weren’t very “Poulenc” , but were pretty distinctly “Milhaud” or “Stravinsky”.<\/p>\n

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Members of Les Six; including, Milhaud, Poulenc and Auric<\/figcaption><\/figure>\n

While I am still refining the inner-workings of my claim and argument, it is undeniable that Daniel\u2019s book is a wonderful reference to have as I continue to explore Poulenc\u2019s contributions to French musical identity. Poulenc’s music is undoubtedly influenced by many different composers. I have also had a chance to explore each of their lives through Daniel’s and others\u2019 writings and hope to further elaborate on them in our first essay assignment of the semester.<\/p>\n

Ultimately, Poulenc\u2019s \u201cFrenchness\u201d is complex and difficult to discern. Daniel\u2019s book serves as a brilliant entryway for further exploration into Poulenc\u2019s contribution to French music and into Poulenc\u2019s own personal and spiritual experiences with the music that he wrote.<\/p>\n